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Lindsay Kemp tribute unveiled as dancer adopts his roles Lindsay Kemp tribute unveiled as dancer adopts his roles
(about 1 month later)
A tribute performance has been created for the influential British dancer and mime artist Lindsay Kemp, who died earlier this year aged 80. The piece is an improvisation by Daniela Maccari, a dancer in Kemp’s company, and rising star Vidya Patel, a former finalist on the BBC Young Dancer competition. Directed by Nendie Pinto-Duschinsky, it is receiving its online premiere on theguardian.com.A tribute performance has been created for the influential British dancer and mime artist Lindsay Kemp, who died earlier this year aged 80. The piece is an improvisation by Daniela Maccari, a dancer in Kemp’s company, and rising star Vidya Patel, a former finalist on the BBC Young Dancer competition. Directed by Nendie Pinto-Duschinsky, it is receiving its online premiere on theguardian.com.
The dance is set to, and named after, Oiseaux Tristes, a movement from the French composer Ravel’s Miroirs suite, played by the pianist Sviatoslav Richter. Ravel described the movement, first performed in 1906, as evoking “birds lost in the oppressiveness of a very dark forest during the hottest hours of summer”.The dance is set to, and named after, Oiseaux Tristes, a movement from the French composer Ravel’s Miroirs suite, played by the pianist Sviatoslav Richter. Ravel described the movement, first performed in 1906, as evoking “birds lost in the oppressiveness of a very dark forest during the hottest hours of summer”.
Pinto-Duschinsky, a close friend of Kemp’s, had hoped to introduce him to Patel when he visited London in 2016. He admired Patel’s dancing but the meeting never took place. When Maccari, who lives in Italy, came to London for a memorial event shortly after Kemp’s death, she met Patel and they immediately hit it off. The pair spent two days in the studio, creating the performance, which was directed and edited by Pinto-Duschinsky, who is also completing work on a documentary about Kemp.Pinto-Duschinsky, a close friend of Kemp’s, had hoped to introduce him to Patel when he visited London in 2016. He admired Patel’s dancing but the meeting never took place. When Maccari, who lives in Italy, came to London for a memorial event shortly after Kemp’s death, she met Patel and they immediately hit it off. The pair spent two days in the studio, creating the performance, which was directed and edited by Pinto-Duschinsky, who is also completing work on a documentary about Kemp.
“We made the piece for Lindsay,” said Pinto-Duschinsky, “but also to help us cope.” She had known Kemp for more than 20 years and Maccari had worked with him for 10 years. There are hopes to develop the performance and stage it next year.“We made the piece for Lindsay,” said Pinto-Duschinsky, “but also to help us cope.” She had known Kemp for more than 20 years and Maccari had worked with him for 10 years. There are hopes to develop the performance and stage it next year.
Kemp loved the music of Ravel. The composer’s intention was that Oiseaux Tristes should feel as free as an improvisation. Maccari explained that all of Kemp’s movement originated with a piece of music: “He said the music was the choreographer and that we should abandon ourselves to it.” Each gesture, Kemp taught them, should be like “a postcard sent from your heart to the audience”. Maccari said that Kemp would tell his performers that the company had a responsibility to lift the spirits of the audience and to make them feel free of their inhibitions. He told his dancers to “enjoy every movement and try to dance as if it was your first time”.Kemp loved the music of Ravel. The composer’s intention was that Oiseaux Tristes should feel as free as an improvisation. Maccari explained that all of Kemp’s movement originated with a piece of music: “He said the music was the choreographer and that we should abandon ourselves to it.” Each gesture, Kemp taught them, should be like “a postcard sent from your heart to the audience”. Maccari said that Kemp would tell his performers that the company had a responsibility to lift the spirits of the audience and to make them feel free of their inhibitions. He told his dancers to “enjoy every movement and try to dance as if it was your first time”.
In the months before his sudden death, Kemp taught Maccari how to perform his signature stage roles. She said it was a “great gift” and that “I knew that in his career he never asked anyone else to dance his roles. I try to carry it on with love and humility.”In the months before his sudden death, Kemp taught Maccari how to perform his signature stage roles. She said it was a “great gift” and that “I knew that in his career he never asked anyone else to dance his roles. I try to carry it on with love and humility.”
Maccari has been playing Kemp’s roles – such as his solos The Flower and The Angel – in performances with his company in Italy. Their staging of his piece Memories of La Traviata creates a kind of duet between Maccari and Kemp, who appears in video footage on a huge screen. “La Traviata starts with his entrance from the corner. He walks very slowly – a typical Lindsay Kemp walk – and it seemed that he was alive, that it was real. It was very moving.”Maccari has been playing Kemp’s roles – such as his solos The Flower and The Angel – in performances with his company in Italy. Their staging of his piece Memories of La Traviata creates a kind of duet between Maccari and Kemp, who appears in video footage on a huge screen. “La Traviata starts with his entrance from the corner. He walks very slowly – a typical Lindsay Kemp walk – and it seemed that he was alive, that it was real. It was very moving.”
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